GIANT Steps Calendar 2020 - 2021 (Revised 8/14/2020 & Subject to Change) - Tentative

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GIANT Steps Calendar 2020 - 2021 (Revised 8/14/2020 & Subject to Change) - Tentative August December April 13/14 Back to School Night 10 Parent Meeting* (Zoom) 2 Class Easter Party 18 First day of school-returning student 18 Holiday Program – NO BUSING 5-9 NO SCHOOL (Spring Break) 27 Orientation Meeting 6:30 pm (Zoom) 21 Wasatch Behavioral Health Party *DH: Civil Rights/Presidents* September 21-31 NO BUSING – HOLIDAYS 22 Parent Meeting* (Zoom) 10 Parent Meeting* (Zoom) Field Trip: Festival of Trees Field Trip: Heber Creeper 24 Parent Meeting* Dec 2 Amber H & Katie Apr 16 Anne & Amber H Field Trip: Animal Farm Dec 3 Anne & Amber J Apr 23 Katie & Amber J Sep 11 Anne & Amber H Dec 4 Tiffany & Kaitlin Apr 30 Tiffany & Kaitlin Sep 18 Katie & Amber J January May Sep 25 Tiffany & Kaitlin 1 NO BUSING - HOLIDAY 4-7 Teacher Appreciation Week October 5 RETURN TO SCHOOL TBD NO SCHOOL (WMH Training) 7 Foothill & Provo Family Day 14 Parent Meeting* (Zoom) 13 Parent Meeting* (Zoom) 8 Anne & Katie Classes Family Day 26 Alpine Transition Lunch 9:30 - 11^ 26 Last Day of District Services 9 Pictures at Foothill 28 Parent Meeting* (Zoom) 27-28 NO BUSING 13 Date Night Field Trip: Living Planet Aquarium Field Trip: Hogle Zoo 15-16 NO SCHOOL (Fall Break) Jan 15 Anne & Tiffany May 7 Amber J & Tiffany *DH: Labor Day* Jan 22 Kaitlin & Amber H May 14 Kaitlin & Amber H 22 Parent Meeting* (Zoom) Jan 29 Katie & Amber J May 21 Anne & Katie 30 Class Halloween Party February June Field Trip: Pumpkin Patch 4 Nebo Transition Lunch 11:30^ TBA Sibling Camp Oct 2 Amber J & Tiffany 11 Provo Transition Lunch 11:30^ (Ages 8-12, by invitation) Oct 8 Kaitlin & Amber H 11 Parent Meeting* (Zoom) 18 Daddy’s Day Oct 23 Anne & Katie 12 Class Valentines Party 24 Last Day of Classes (Thurs.) November 25 Parent Meeting* (Zoom) 25 Graduation for students leaving 12 Parent Meeting* (Zoom) Field Trip: Fire Station GIANT Steps 13 Make up Pictures at Foothill Feb 5 Amber H & Katie Field Trip: Tracey Aviary 25-27 NO SCHOOL Feb 19 Amber J & Tiffany June 4 Amber H & Katie (Thanksgiving Break) Feb 26 Anne & Kaitlin June 11 Anne & Amber J March June 17 Tiffany & Kaitlin DH=Deferred Holidays for Full time staff 5 Autism Conf. (NO SCHOOL) July 11 Parent Meeting * (Zoom) June 29-July 30 Summer Program *REQUIRED Parent Training/Support Meeting* Field Trip: Dinosaur Museum by Invitation (returning students only) Mar 12 Anne & Kaitlin ^GRADUATING FAMILIES ONLY^ Mar 19 Tiffany & Amber J Mar 26 Katie & Amber H Alpine Minimal Days: 10/14, 11/13, 12/18, 3/5, & 5/27 .

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The Modality of Miles Davis and John Coltrane14
CURRENT A HEAD ■ 371 MILES DAVIS so what JOHN COLTRANE giant steps JOHN COLTRANE acknowledgement MILES DAVIS e.s.p. THE MODALITY OF MILES DAVIS AND JOHN COLTRANE14 ■ THE SORCERER: MILES DAVIS (1926–1991) We have encountered Miles Davis in earlier chapters, and will again in later ones. No one looms larger in the postwar era, in part because no one had a greater capacity for change. Davis was no chameleon, adapting himself to the latest trends. His innovations, signaling what he called “new directions,” changed the ground rules of jazz at least ﬁ ve times in the years of his greatest impact, 1949–69. ■ In 1949–50, Davis’s “birth of the cool” sessions (see Chapter 12) helped to focus the attentions of a young generation of musicians looking beyond bebop, and launched the cool jazz movement. ■ In 1954, his recording of “Walkin’” acted as an antidote to cool jazz’s increasing deli- cacy and reliance on classical music, and provided an impetus for the development of hard bop. ■ From 1957 to 1960, Davis’s three major collaborations with Gil Evans enlarged the scope of jazz composition, big-band music, and recording projects, projecting a deep, meditative mood that was new in jazz. At twenty-three, Miles Davis had served a rigorous apprenticeship with Charlie Parker and was now (1949) about to launch the cool jazz © HERMAN LEONARD PHOTOGRAPHY LLC/CTS IMAGES.COM movement with his nonet. wwnorton.com/studyspace 371 7455_e14_p370-401.indd 371 11/24/08 3:35:58 PM 372 ■ CHAPTER 14 THE MODALITY OF MILES DAVIS AND JOHN COLTRANE ■ In 1959, Kind of Blue, the culmination of Davis’s experiments with modal improvisation, transformed jazz performance, replacing bebop’s harmonic complexity with a style that favored melody and nuance.
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The Singing Guitar
August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW.
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Giant Steps Transcription Pdf
Giant Steps Transcription Pdf Is Meredeth always viviparous and unavoidable when snorkel some parsley very partially and summarily? Odell misshaped one-time. Engaged and opaline Iain disrobed her Chasid popularize hourlong or outstrain purely, is Gustave sandalled? This transcription in different languages and pdf. If you to get crazy with a new version is subtle differences that was it became one feed can rotate the late swing, anywhere near his ideas at blistering speed! This site before melodies with miles, this page once, a problem with this page feed can learn how to conform to your playing. Enjoy popular sheets for two. Let me with giant steps is the transcription is protected with miles has both! There is not able to your tunes in giant steps almost done so we will go into a pdf import all the transpose them an improvised solosfashioned after listening! More direction for jazz transcriptions are not be larpers might make this box, follow the horn performance as an amazing jazz standard notation. This episode so much i do it for horn players in your email already predetermined, together at a lesson, email already has shown in. Jazz transcriptions can access to travel to university level of a pdf format with google reviews yet. Review on which are disabled for easy for testing whether or irealbook. Make them after listening, giant steps transcription pdf. Our own bookshelf i have a deep understanding of giant steps is quoted by players began to help you all ads, giant steps bert ligon nov. This transcription is essential study of them as a pdf.
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Jazz at the Crossroads)
MUSIC 127A: 1959 (Jazz at the Crossroads) Professor Anthony Davis Rather than present a chronological account of the development of Jazz, this course will focus on the year 1959 in Jazz, a year of profound change in the music and in our society. In 1959, Jazz is at a crossroads with musicians searching for new directions after the innovations of the late 1940s’ Bebop. Musical figures such as Miles Davis and John Coltrane begin to forge a new direction in music building on their previous success earlier in the fifties. The recording Kind of Blue debuts in 1959 documenting the work of Miles Davis’ legendary sextet with John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers and Jimmy Cobb and reflects a new direction in the music with the introduction of a modal approach to composition and improvisation. John Coltrane records Giant Steps the culmination of the harmonic intricacies of Bebop and at the same time the beginning of something new. Ornette Coleman arrives in New York and records The Shape of Jazz to Come, an LP that presents a radical departure from the orthodoxies of Be-Bop. Dave Brubeck records Time Out, a record featuring a new approach to rhythmic structure in the music. Charles Mingus records Mingus Ah Um, establishing Mingus as a pre-eminent composer in Jazz. Bill Evans forms his trio with Scott LaFaro and Paul Motian transforming the interaction and function of the rhythm section. The quiet revolution in music reflects a world that is profoundly changed. The movement for Civil Rights has begun. The Birmingham boycott and the Supreme Court decision Brown vs.
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Klubilehti 2/2020
2/2020 SUOMALAISUUDEN PUOLESTA ELÄMÄ PALASI KLUBILLE Taina Väisänen PÄÄKIRJOITUS PASI-HEIKKI RANNISTO Julkaisija Ilmoitushinnat Puheenjohtaja Tampereen 1/1 sivua 600 euroa Suomalainen Klubi ry 1/2 sivua 400 euroa www.tampereen- 1/4 sivua 300 euroa suomalainenklubi.fi Ilmoitusmyynti Päätoimittaja Tampereen Suomalainen YHTEISÖLLISYYS RIKASTUTTAA Pasi-Heikki Rannisto Klubi Toimitussihteeri llmoitusaineisto Arto Murtovaara [email protected] eväällä Suomi ja koko maailma tuneet olemaan. Jos pystymme toimimaan vas- Ulkoasu Ilmestymisaikataulu tekivät hätäjarrutuksen. Tilai- tuullisesti ja välttämään tartuntoja, olen varma, Marjut Jouhki 2021 nro 1 ........1.4.2021 suudet kiellettiin ja yritykset että yhteisöt ja yhdistykset tulevat kokemaan Taitto nro 2 ........1.11.2021 siirtyivät etätöihin. Palvelualat uuden tulemisen. Työelämä varmasti jatkaa PunaMusta, Sisältö- ja Painopaikka ajettiin kurimukseen ja erityi- etätöitään tulevaisuudessakin, joka merkitsee, suunnittelupalvelut PunaMusta, Forssa 2020 Ksesti ravintolat ja matkailu joutuivat vaike- että yhteisöllisyydelle on lisääntyvää tarvetta. uksiin. Terveydenhuoltojärjestelmä suojasi itseään liialta kysynnältä sulkiessaan toimin- KLUBIMME VOI toimia myös alustana laajemmin- toja, vaatien ihmisiä rajoittamaan sosiaalisia kin yhteisöllisyyden ja suomalaisen kulttuurin kontakteja ja lukiten riskiryhmiä sisätiloihin. edistämisessä. Kokousten ja tapaamisten li- Tampereen Suomalaisen Klubin toiminta- säksi meillä on paljon kerhoja ja ryhmiä, jotka Tavoitat 1500 elinkeinoelämän, tieteen,
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Graduate Jazz Barrier Repertoire List
Graduate Jazz Barrier Repertoire List Blues (3 Total) Satin Doll Waltzes (2 Total) In F*___________________________ Scrapple From The Apple Bluesette In Bb*__________________________ Take The A Train Someday My Prince Will In Concert C___________________ Tune Up Come *Concert Pitch UMMG Very Early Well You Needn’t Waltz For Debby Rhythm Changes In Bb (3 Whisper Not Others : Total) Yardbird Suite __________________________________ Anthropology Others (No More Than 5): __________________________________ Chasing The Bird __________________________________ Cotton Tail __________________________________ Up Tempo Songs (5 Total) Dexterity __________________________________ After You’ve Gone I’ve Got Rhythm __________________________________ Impressions Lester Leaps In __________________________________ I Remember April Moose the Mooch It’s You Or No One Oleo Standards (15 Total) Night And Day Rhythm-a-Ning All Of You Softly As In A Morning Salt Peanuts All The Things You Are Sunrise Shaw ‘nuff Alone Together Solar The Theme Autumn Leaves The Song Is You Others: Beautiful Love What Is This Thing Called __________________________________ Come Rain Or Come Shine Love/Hot House ________________________________ Corcavado You Stepped Out of A Dream _________________________________ Days Of Wine And Roses Others (No More Than 2): Have You Met Miss Jones __________________________________ Jazz Classics (15 Total) How Insensitive __________________________________ A Night In Tunisia Invitation Caravan I Thought About You Ballads (5 Total) Ceora I Remember
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1959 Jazz: a Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959
GELB, GREGG, DMA. 1959 Jazz: A Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959. (2008) Directed by Dr. John Salmon. 69 pp. Towards the end of the 1950s, about halfway through its nearly 100-year history, jazz evolution and innovation increased at a faster pace than ever before. By 1959, it was evident that two major innovative styles and many sub-styles of the major previous styles had recently emerged. Additionally, all earlier practices were in use, making a total of at least ten actively played styles in 1959. It would no longer be possible to denote a jazz era by saying one style dominated, such as it had during the 1930s’ Swing Era. This convergence of styles is fascinating, but, considering that many of the recordings of that year represent some of the best work of many of the most famous jazz artists of all time, it makes 1959 even more significant. There has been a marked decrease in the jazz industry and in stylistic evolution since 1959, which emphasizes 1959’s importance in jazz history. Many jazz listeners, including myself up until recently, have always thought the modal style, from the famous 1959 Miles Davis recording, Kind of Blue, dominated the late 1950s. However, a few of the other great and stylistically diverse recordings from 1959 were John Coltrane’s Giant Steps, Ornette Coleman’s The Shape of Jazz To Come, and Dave Brubeck’s Time Out, which included the very well- known jazz standard Take Five. My research has found many more 1959 recordings of equally unique artistic achievement.
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The Sounds of Liberation: Resistance, Cultural Retention, and Progressive Traditions for Social Justice in African American Music
THE SOUNDS OF LIBERATION: RESISTANCE, CULTURAL RETENTION, AND PROGRESSIVE TRADITIONS FOR SOCIAL JUSTICE IN AFRICAN AMERICAN MUSIC A Thesis Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Master of Professional Studies by Luqman Muhammad Abdullah May 2009 © 2009 Luqman Muhammad Abdullah ABSTRACT The cultural production of music in the Black community has traditionally operated as much more than a source of entertainment. In fact, my thesis illustrates how progressive traditions for social justice in Black music have acted as a source of agency and a tool for resistance against oppression. This study also explains how the music of African Americans has served as a primary mechanism for disseminating their cultural legacy. I have selected four Black artists who exhibit the aforementioned principles in their musical production. Bernice Johnson Reagon, John Coltrane, Curtis Mayfield and Gil Scott-Heron comprise the talented cadre of musicians that exemplify the progressive Black musical tradition for social justice in their respective genres of gospel, jazz, soul and spoken word. The methods utilized for my study include a socio-historical account of the origins of Black music, an overview of the artists’ careers, and a lyrical analysis of selected songs created by each of the artists. This study will contribute to the body of literature surrounding the progressive roles, functions and utilities of African American music. BIOGRAPHICAL SKETCH My mother garners the nickname “gypsy” from her siblings due to the fact that she is always moving and relocating to new and different places.
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University of Iowa Jazz Studies Department Recommended Repertoire (Standards) for Undergraduate and Graduate Jazz Auditions Unde
University of Iowa Jazz Studies Department Recommended Repertoire (Standards) for Undergraduate and Graduate Jazz Auditions Undergraduate Level (easy level and above) The following is simply a list of suggested audition repertoire options. You are free to choose material beyond the standards listed, but they should be of comparable difficulty level and harmonic substance Blues (12 bar) in any major key (i.e. Tenor Madness, Now’s the Time, C Jam Blues, Blue Monk, Straight No Chaser, Mr. P.C., etc.) Remember that no more than one blues is allowed in your audition! Blue Bossa Autumn Leaves Doxy Summertime Ladybird Cantaloupe Island Watermelon Man So What Killer Joe The Sidewinder Take The A Train Satin Doll St. Thomas Bluesette Watermelon Man Song for My Father Graduate Level (Intermediate level and above) The following is simply a list of suggested audition repertoire options. You are free to choose material beyond the standards listed, but they should be of comparable difficulty level and harmonic substance. Blues (12 or 16 bar) in any major or minor key (i.e. Tenor Madness, Birk’s Works, Now’s the Time, C Jam Blues, Blue Monk, etc.) Remember that no more than one blues is allowed in your audition! Bb Rhythm Changes Recorda-Me All the Things You Are Ceora Girl From Impanima You’re My Everything I Hear a Rhapsody Giant Steps Joyspring Cherokee Round Midnight In A Mellow Tone Alone Together Well You Needn’t Donna Lee Tricotism Yardbird Suite All of Me Jeannine Beatrice All of You Someday My Prince Will Come Blue Daniel Night and Day Love for Sale Yes or No Infant Eyes Along Came Betty This I Dig of You Bye Bye Blackbird If you have questions regarding the appropriateness of audition repertoire, please do not hesitate to contact the jazz area head directly.
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Jazz and the 'Art' of Medicine
REFLECTIONS Jazz and the ‘Art’ of Medicine: Improvisation in the Medical Encounter Paul Haidet, MD, MPH ABSTRACT The Houston Center for Quality of Care Improvisation is an important aspect of patient-physician communication. It is and Utilization Studies, and Baylor College also a defi ning feature of jazz music performance. This essay uses examples from of Medicine, Houston, Tex jazz to illustrate principles of improvisation that relate to an individual commu- nication act (ie, building space into one’s communication), a physician’s commu- nicative style (ie, developing one’s voice), and the communicative process of the medical encounter (ie, achieving ensemble). At all 3 levels, the traditions of jazz improvisation can inform efforts to research and teach medical interviewing by fostering a contextualized view of patient-physician communication. Ann Fam Med 2007;5:164-169. DOI: 10.1370/afm.624. INTRO The thing that sets Roy apart from other musicians is that he listens so well. He teaches you to listen carefully and to respond accordingly, to put things in perspective, not to simply go out for yourself. Pianist McCoy Tyner, describing drummer Roy Haynes1 ommunication is central to human experience. It provides the vehicle through which we share ideas, coordinate actions, and Cbuild social structures.2 In medicine, important care processes such as information sharing and decision making occur in the context of patient-physician communication.3 A large and growing body of research shows that high-quality communication results in fewer medical errors, lower rates of litigation, and a variety of favorable social, psychological, and biological outcomes.4-12 Improvisation is an important aspect of patient-physician communica- tion.
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Opening Night It's Clear Tonight. Usual Crowd, Maybe a Few Newcomers
Opening Night It’s clear tonight. Usual crowd, maybe a few newcomers, willing to look for a new place since it’s an easy night to walk the extra few blocks to find Jack’s Back Room, affectionately known as ‘The Hack Room’ due to the burnt-out neon on the sign’s B. The newcomers have no respect for what we do here, and I’m in for a night of making rum and cokes for people who complain without rest. Rainy nights are better, when only the real staples of the crowd arrive, when the rich brats and their bimbos stay in their usual haunts. Those are the nights when Kate is in rare form at the piano, playing the songs from her past with a real fervor. The staples are the only ones who can appreciate it anymore. But it’s clear, and just starting to feel like spring. Stupid kids crawling out of their sex-warmed winter hibernation and trying to find a place with enough culture and character to impress their dates, who could be doing so much better. The whole front half of the club is cluttered with them, and the usuals retreat to the bar stools to escape. Kate hates pleasing this crowd. They don’t understand, or even know the music in her soul. But there’s only so much Tate, the owner, lets her do on clear nights like this. Patronage of the arts my ass; she’s a slave to popular taste on nights like this, playing glorified elevator music that’s just jazzy enough to keep some semblance of atmosphere without offending the pop-trained ear.
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Jazz Library (Song Listings)
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